犹太青年圭多（罗伯托·贝尼尼）邂逅美丽的女教师多拉（尼可莱塔·布拉斯基），预知他彬彬有礼的向多拉鞠躬：预知“早安！公主！”。历经诸多令人啼笑皆非的周折后，天遂人愿，两人幸福美满的生活在一起。然而好景不长，法西斯政权下，圭多和儿子被强行送往犹太人集中营。多拉虽没有犹太血统，毅然同行，与丈夫儿子分开关押在一个集中营里。聪明乐天的圭多哄骗儿子这只是一场游戏，奖品就是一辆大坦克，儿子快乐、天真的生活在纳粹的阴霾之中。尽管集中营的生活艰苦寂寞，圭多仍然带给他人很多快乐，他还趁机在纳粹的广播里问候妻子：“早安！公主！”法西斯政权即将倾覆，纳粹的集中营很快就要接受最后的清理，圭多编给儿子的游戏该怎么结束？他们一家能否平安的度过这黑暗的年代呢？
李菲菲
回复 :城市最大的参行被盗，价值千万的野山参瞬间下落不明。推销员马有才事事都晚半拍，他为筹集一笔资金，铤而走险变成了一个空有盗窃名头的盗窃人。主犯“独眼”处心积虑想把同伙灭口却不幸丧命。萧文欲在盗窃人参计划中获利，却偶遇苦寻的女友的未婚夫曹丰。案件在警官许峰的层层追查下更加扑朔迷离。人性的深情相付和铤而走险，让所有人的关系和命运错综复杂......
小林桂
回复 :一个夏季的雨天，女生金太嬉（李银珠饰）走进男生徐仁友（李秉宪饰）的伞下避雨，男生对她一见钟情。大学里二人的感情逐步升温，雨夜，二人吵架又和好，感情浓得化不开。任友服兵役前一晚，没有等到答应前来送行的太嬉，就此缘悭一面。17年后，徐仁友已经有一个幸福的家庭，太太和小女儿让他的生活从容平静。在男校执教的他，发现班上一个17岁的男孩子的动作举止与当年的太嬉惊人相似，勾起了他埋藏多年的回忆，才发觉原来自己一直不能忘怀。而男学生面对仁友的感情，内心也起了波澜。甚至与小女朋友分手。太嬉，到底在哪里？17年前的谜团解开后，是一段极致的生死之恋。
林凡
回复 :Two differences between this Austrian version and the generally available American version are immediately obvious: they differ both in their length and in the language of the intertitles. The American version is only 1,883 metres long - at 18 frames per second a difference of some 7 minutes to the Austrian version with 2,045 metres. Whereas we originally presumed only a negligible difference, resulting from the varying length of the intertitles, a direct comparison has nevertheless shown that the Austrian version differs from the American version both in the montage and in the duration of individual scenes. Yet how could it happen that the later regional distribution of a canonical US silent film was longer than the "original version"?The prevalent American version of Blind Husbands does not correspond to the version shown at the premiere of 1919. This little-known fact was already published by Richard Koszarski in 1983. The film was re-released by Universal Pictures in 1924, in a version that was 1,365 feet (416 metres) shorter. At 18 frames per second, this amounts to a time difference of 20 minutes! "Titles were altered, snippets of action removed and at least one major scene taken out entirely, where von Steuben and Margaret visit a small local chapel." (Koszarski)From the present state of research we can assume that all the known American copies of the film derive from this shortened re-release version, a copy of which Universal donated to the Museum of Modern Art in 1941. According to Koszarski the original negative of the film was destroyed sometime between 1956 and 1961 and has therefore been irretrievably lost. This information casts an interesting light on the Austrian version, which can be dated to the period between the summer of 1921 and the winter of 1922. Furthermore, the copy is some 200 metres longer than the US version of 1924. If one follows the details given by Richard Koszarski and Arthur Lennig, this means that, as far as both its date and its length are concerned, the Austrian version lies almost exactly in the middle between the (lost) version shown at the premiere and the re-released one.A large part of the additional length of the film can be traced to cuts that were made to the 1924 version in almost every shot. Koszarski describes how the beginning and the end of scenes were trimmed, in order to "speed up" the film. However, more exciting was the discovery that the Austrian version contains shots that are missing in the American one - shots/countershots, intertitles - and furthermore shows differences in its montage (i.e. the placing of the individual shots within a sequence). All this indicates that Die Rache der Berge constitutes the oldest and most completely preserved material of the film.
